Customer Reviews:
FORCED TO BUY FOR JAZZ HISTORY.......2007-07-26
This was required for my jazz history class at Sacramento City College (MUFHL 315 - online). It was 125.00 at the college book (packaged along with some worthless CD's). It is not laid out like a normal textbook. At the beginning, it doesn't have a chapter outline or learning objectives. At the end of each chapter, all you have is a sorry summery that doesn't cover any of what the author is trying to say within the chapter. THIS IS THE WORST BOOK I HAVE EVER BEEN FORCED TO BUY FOR A CLASS. I am tired people publishing the results of their graduate work as TEXTBOOKS and ripping off poor undeserving student. Reading this book is like watching paint dry.
This book connects the dots..........2006-02-13
I had begun to get serious about immersing myself in Jazz. A little dive around the corner was showing excellent Jazz groups and I had to take the opportunity to discover this great art form. My daughter lent me a textbook she had from college.
I immediately picked it up and for several hours was scanning it backwards and forwards. I kept referencing all the artists and songs I had heard of all my life and this book very handily made the connections. It's loaded with clear and concise and insightful teaching aids.
I can now understand much better the overall experience and history of jazz. The technical parts are still quite overwhelming, but the author's writing is very articulate and non-judgmental. I've rarely seen a more learning friendly book. As I started to mention, you can start anywhere you want in this book and just take what you can handle.
not for jazz scholars alone.......2005-12-20
It has been nearly 30 years since Mark Gridley's first edition of Jazz Styles appeared, and no other treatment of jazz styles comes close to his careful analysis of how jazz has been made since its inception. It is a work of great and serious scholarship, an invaluable resource for students of the genre. Yet, Jazz Styles is also an enjoyable and entertaining companion for anyone who wants to become a more perceptive listener to jazz. The Listening Guides are useful even for those 'veteran'
jazz fans familiar with the works described. Gridley will take you to ever-deeper levels of appreciation for jazz in all its varieties.
Customer Reviews:
"instrumental jazz" history?.......2004-08-11
Come on, Mark. 8 editions. Still no singers. Have Vaughan, Fitzgerald, Holiday, et al. contributed nothing to the art?
Everything You Wanted to Know About Jazz.......2000-08-22
This is the most accurate, user-friendly intro to jazz. It focuses on the music, not the personal lives of the musicians. It explains, patiently and systematically, in luminously clear prose, what jazz is and how to get the most out of listening to it. It details the origins of jazz as well as the distinguishing characteristics of all the major styles: Dixieland, Swing, Bebop, Cool, Hard Bop, "Free Jazz" and Avant-Garde of the 60s and 70s, and Jazz-Rock Fusion. It profiles 144 musicians' contributions (their sources, their styles, and lists of the others they influenced) and provides classification of more than 1000 other musicians, in easy-to-understand categories. Strategies for locating the best albums for all the top musicians. Optional CD of historic recordings is available. Optional CD of narrated demonstrations of the jazz instruments, song forms and methods that jazz musicians use to make their music is also available. Loaded with instrument sketches and photos of key musicians in action, this is America's most widely-used intro to jazz and has been translated into 5 foreign languages. Its author is an award-winning researcher and jazz musician who has travelled to South America, The Caribbean and Africa, as well as all the jazz centers of America. His work is so down-to-earth and practical that it has been adopted for use in jazz appreciation and jazz history courses at more than 500 high schools and colleges.
Gridley Swings -- and hits The Groove On this One!.......2000-01-10
This is my first in depth study on Jazz in America. My first musical interests as a teenager were jazz, classical, and Bob Dylan. I began listening to Miles Davis, Al Hirt, Dizzy Gillespie and John Coltrane in the early sixties. They were followed by Bob Dylan, and, in 1967, my last year in the Army, Bay Area bands. An avid tape collector, I got reintroduced to jazz in the last few years as I have returned to those roots and sought some information about the origins of jazz, as well as the key players in the United States. Gridley's book was found at a used book store, alas, without the cassettes. I have longed for the cassettes, so that I could hear the music he references in his text. This IS a text book. I found it challenging, not having any musical knowledge. I still am in over my head on the musical descriptions, but the chapters are logically broken down into the origins of jazz in New Orleans, early jazz, bop, hard bop, Chicago style jazz, west coast jazz, etc. Gridley clearly knows his players. He shows the progressions of players and followers and has special designations for some of the more modern jazz players in my time frame -- Dizzy Gillespie, Miles Davis, Charlie Parkery, John Coltrane, Herbie Hancock, Ornette Coleman, Art Blakey, etc. And he also references some of the newer men or groups on the jazz scene, including Sun Ra, Weather Report, Mahavishnu Orchestra. I saw the latter play in the late sixties. Gridley's description, for instance, of Mahavishnu's kinetic energy of those years is apt. I personally left that show wired to the max, convinced I could never endure anything like that again. I am sure that this book is associated with college level music courses that are meant for musically inclined students who want to go deeper into the genre. And this book, in my opinion, is so well written, with such a deep glossary, such vivid musical descriptions of the various sounds produced by different musicians and groups, that I am convinced it would be a maximum value for such a student. I will most likely shell out the full price so that I can grab the cassettes. I believe that this book, coupled with the cassettes, will allow me to go much deeper into my own personal revival of American Jazz. I would STRONGLY recommend this book for novices and college level students who are interested in jazz at a more professional level. Organizationally, the book is right on. Plenty of charts that describe the various "roots" of American jazz as they coalesced in New Orleans. And Gridley makes a point that sounds valid in saying that not all those various "roots" were African-American. I am grateful I found this gem in the half-priced book store and will surely purchase the original in the near future. I think you will like this one if you are approaching jazz at both an afficionado and technical level. Good reading!
Outstanding.......1999-10-18
This book is very informative and can be easily related to those w/ no jazz training! Billy Barnard was also an excelent teacher... along with his help on this book!
Average customer rating:
- Not a Page Turner, but a Good Overview
- Great book!!!
- A Very introduction in2 the making of Jazz.
- Best book for the novice
- Excellent Intro to Excellent Music
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JAZZ 101: A COMPLETE GUIDE TO LEARNING AND LOVING JAZZ
John Szwed
Manufacturer: Hyperion
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The History of Jazz
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What to Listen For in Jazz
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Jazz: A History of America's Music
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Keeping Time: Readings in Jazz History
ASIN: 0786884967 |
Book Description
Anyone interested in learning about a distinct musicjazzwill welcome this newest addition to the popular 101 reference series. Noted anthropologist, critic, and musical scholar John F. Szwed takes readers on a tour of the musics tangled history and explores how it developed from an ethnic music to become North Americas most popular music and then part of the avant garde in less than fifty years. Jazz 101 presents the key figures, history, theory, and controversies that shaped its development, along with a discussion of some of its most important recordings.
Customer Reviews:
Not a Page Turner, but a Good Overview.......2006-02-01
I'd actually give this 3 and a half stars, sort of a C+ in my opinion. Anyway- I've learned a lot from this book and use it more as a reference material than as a "can't wait to read more" type of thing. The author sometimes is a little circular in his opinions too- especially when he tries to define Jazz or a given era. Plus, with something like this, it almost screams for a companion sampler CD, or a publishers website or something. Many times he refers the reader to hard to find or out of print CDs/records (for instance making use of Smithsonian recordings which are not easy to get). On the other hand, I have made a good list of recordings and artists I haven't heard yet, and I feel like I listen with a much more educated ear now- even though I've been a big fan of Jazz for many years. So- it's recommended, but be prepared to do some home work along side the reading in order to actually hear what the book is discussing.
Great book!!!.......2005-08-19
Informative and easy to read. This book offers a background history of jazz trying to explore in the genre roots. The styles descriptions have a lot of vital information and the album reviews and recommendations are great. It's not a jazz guide, it's more a book for jazz starters who want to introduce in the jazz world. Highly recommended.
A Very introduction in2 the making of Jazz........2005-01-10
I actually read this book from the beginning since I fell in love in it, as to me I'm a singer, rapper, artist and musician. This book tells it all from ragtime started, how swing & big bands got all over across the country, when Miles, Dizzy, Bird, Coltrane, Duke, Count, Satchmo, Billie, Ella, Sarah, Clifford, etc. came out 2day's hottest pioneers of jazz, and how jazz-rap or jazz hip-hop was made. I can't even put it down 'cuz it's good tho. This is recommend who want to know the whole history behind it. Even tho u like jazz, blues, bebop, rap, hip-hop or both. A must.
Best book for the novice.......2004-03-16
Professor Szwed's book is aptly titled and provides a fairly comprehensive history of jazz from it's beginnings to the present. He clearly states that no book covering such a diverse genre can escape being incomplete when it comes to recognizing individual artists, nor escape the inevitable opinions and prejudices of diverging thought on direction and contribution. To this end he suceeds handily.
The novice who is interested in jazz, and not yet opinionated enough to have adopted one of the contentious theories of "what jazz is", will find much information on the origins and stylistic forms of jazz music, jazz art and ultimately, jazz life. However, the more seasoned jazz fan might just as easily find himself in mental arguement with the author almost from the git go. This is regretable since it leads to rejection of much of the foundation material important in having a true understanding of the music. To those of us who believe jazz is devinely connected to the blues, much of Szwed's commentary could be viewed as heresy. But, to others who feel jazz includes almost all forms of improvisation the author's keen insite on sociological and twentieth century demographics play particularly well. He goes so far as to dip his toe in the muddy waters of Kenny G's authenticity, though slyly demurs from opining on just what this cretin is actually blowing through his horn (there, I told you jazz opinion can be contentious!).
My only criticism of this work is Szwed's listening examples which are carefully detailed and highlighted throughout the book. While they specifically meet the example criteria he is aiming for, many more accessable (read enjoyable) substitutes exist.
All in all, an excellent intro and the best $10 item in the jazz supermarket.
Excellent Intro to Excellent Music.......2003-12-04
This is a great example of how to write an introductory book on a topic that might daunt some people. Szwed presents the major styles, players, and even some of the controversial issues of jazz with clarity and infectious enthusiasm. Just as importantly, he's not afraid to keep it intelligent, unlike a lot of introductory books. Like the subtitle promises, this book really can help you learn and love jazz. It sure fueled my passion for the music.
Average customer rating:
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Jazz Style: History and Analysis
Mark C. Gridley
Manufacturer: Prentice Hall College Div
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Binding: Audio CD
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ASIN: 0130126926 |
Book Description
"You have to talk about how jazz is like a language. Musical improvisation can put people at a distance, primarily because of jazz's limited exposure. When people realize that everyone who creates a sentence is improvising within basic rules, making statements up spontaneously, the music begins to make more sense." –Jonny King
Imagine you are in the audience of a jazz club. The piano player invites you up on stage to meet the musicians after the set is finished. You listen to them talkabout the tempo of the last tune, the order of songs for their next set, and the different jazz greats they admire.
What Jazz Is gives you the experience of "being there" as Jonny King takes you on stage and into the core of modern jazz. From the unique perspective of a professional jazz pianist, King explores the basic elements and language of jazz. He explains each instrument's role in locking in the tempo, establishing the harmony, and stating the melody, and he reveals the order and logic behind the seeming randomness of improvisation. Along the way, he celebrates the distinctive playing styles of such classic jazz artists as Art Blakey, John Coltrane, and Thelonious Monk, as well as his contemporaries, such as Kenny Garrett, Christian McBride, and Joshua Redman. Whether you are about to attend a jazz club for the first time or buy your umpteenth CD, your listening experience will be enhanced by reading this eloquent and passionate account of how jazz works and why it sizzles!
Customer Reviews:
Good book marred by Lack of CD.......2003-01-15
As an adult learner of the saxophone, keen to deepen my understanding of jazz this book seemed ideal. I raced through the first half but was pulled up sharply after 90 pages with more than 60 more to go, because the remainder of the book required me to listen to ten tracks from ten separate Blue Note CDs to fully appreciate the accompanying commentary. Realistically that means buying them.
The only track in my collection was Herbie Hancock's "Maiden Voyage" which is on a widely available Blue Note sampler. It is not just that I would need to buy another 9 CDs to extract the maximum value from the remaining 40% of the book, I couldn't buy at least one of them if I wanted to. Live Messengers by Art Blakey seems to be virtually unobtainable on- or off-line. Incidentally the LP is listed in the book as having been released in 1954, but the Allmusic Guide says it its from 1962. Where the error lies I'm not sure. I have bought two others as mid-priced CDs but most are full price.
To devote so much of the book to a recording guide was ill-conceived at best. Did a deal with Blue Note fall through will the book was being prepared? Don't underestimate how much this will impair your enjoyment of the book. The book is quite slim and relatively pricey. Three stars is being generous. I would give it two-and-a-half if allowed. An accompanying CD is essential or an existing compilation should be used as a template.
An incomplete project.......2001-09-20
This book is clearly written and has the potential to be a great introduction to jazz for jazz beginners like me. The problem is that half of the value of the book lies in King's analysis of ten jazz numbers by ten artists from ten differet Blue Note CDs, and as a jazz beginner I don't have those ten CDs. Out of a collection of 60+ jazz CDs, I have only one of them. I am not going to go out and buy the other nine just to get the one number on each that is discussed by King. It would cost too much. Like most beginners, most of my jazz CDs are the "classics" by various artists. But King's list consists almost entirely of numbers from second-tier CDs, those that are not the most popular among ordinary jazz listeners but which are popular among (some) professional jazz musicians. The value of the book would be magnified greatly if it had a CD with it, containing all of the ten pieces that he analyzed. My guess is that King tried to get Blue Note to put out such a CD, but Blue Note wouldn't cooperate. Given that, King should have revised the last part of the book in favor of pieces from CDs that most jazz beginners would have in their collections. After all, the book was supposedly written for jazz beginners, not for jazz experts. I'm not saying that the book is useless as it is. In fact, I enjoyed it. But it is an incomplete project. It could have been so much better.
Tremendous introduction to jazz.......2001-01-06
What an absolute pleasure to sit down on a rainy afternoon with Jonny King's book open to the chapter on "Ballads," reading his affectionate deconstruction of Hank Mobley's "Remember", playing Mobley's CD at the same time and listening along ... then listening again, and again, hearing new things every time. King's enthusiastic and accessible analyses open doors for those of us who have always liked jazz, but never fully appreciated its structure and nuances because we don't play an instrument and haven't known precisely what to listen for. I fervently hope the author is working on Volume Two.
Be bopping before you know it..........2000-12-30
For years I wondered about the appeal and popularity of jazz music. What jazz I heard seemed bizarre, cacophonous, and, well, not worth listening to. Jonny King's book (and it's CD) changed all of that and I've converted into a definite jazz fan.
King's book is the perfect introduction and does what it sets out to do: present the jazz neophyte with an understanding of what jazz is, what the musicians are doing as they play, and how to listen to jazz on different levels.
An excellent book that has given me a whole new world of music to explore and appreciate. If you are beginning to explore the jazz scene, this book is the perfect primer!
WHAT JAZZ IS is what jazz is!.......2000-01-04
Bravo Mr. King! As a professional musician for over forty years, I am happy to discover that we finally have a writer whose diction, voice and obvious passion for jazz are worthy of this great American art form. The author's descriptions and analyses of the music, itself, and each component of style and instrumentation are first-rate. Mr. King delineates what every jazz musician inherently knows, but may not have the ability to articulate. This is a great book for players, and an even more important book for those wishing to understand this vibrant, dynamic musical genre.
Average customer rating:
- Soul Jazz hits just the write note.
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SOULJAZZ: The Heart of the Music
Michael Brewin
Manufacturer: Souljazz
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ASIN: 0972153608 |
Book Description
SOULJAZZ: The Heart of the Music (ISBN: 0-9721536-0-8) presents jazz to the reader from the inside -- as musician, historian, educator, and writer Michael Brewin explains the many facets of jazz in an accessible and informative manner. SOULJAZZ features: a comprehensive, up-to-date history of jazz (1900-present), its greatest innovators, composers and arrangers, important recordings, the instruments and styles, in-depth interviews with a variety of the world's leading jazz musicians, improvisation explained, 140 photographs of top jazz musicians (100 exclusive action photos, 25 historical, 15 misc.), and assorted charts, CD discographies, and other informational resources.
The interviews include Grammy award-winners Joshua Redman, Ray Brown, Larry Carlton, Charlie Haden, Shirley Horn, Béla Fleck, and Joe Lovano, as well as Bobby Hutcherson, John and Jeff Clayton, Russell Malone, Leroy Vinnegar, and Tonight Show bandleader Kevin Eubanks, among others.
Customer Reviews:
Soul Jazz hits just the write note........2002-12-04
I bought Souljazz for my son who is studying jazz. I decided to read a couple of pages in it before his birthday, and i could not put it down. It is very well-written. Although I love music, I am not a musician, and have no technical background in music and very little knowledge about jazz structure or history.
What made this book so absorbing is that Mike Brewin writes with the knowledge of a musician, but he writes in terms that a non-musician can understand. In particular, his explanation of the process of improvisation is the best I have ever read. Despite Mike's academic background, the book is not stilted. The photographs complement the text and add to its life. The interviews with jazz luminaries make the reader feel like he or she is sitting in the room listening to a conversation between Mike and the luminary. My favorite is the interview with Joshua Redman, which explains the origin of the term "soul jazz."
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I Know What I Know: The Music of Charles Mingus
Todd S. Jenkins
Manufacturer: Praeger Publishers
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Binding: Hardcover
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ASIN: 0275981029 |
Book Description
From the mid-1940s until his death in 1979, Charles Mingus created an unparalleled body of recorded work, most of which remains available in the 21st century. While there have been several volumes devoted to Mingus's colorful and tumultuous life, this is the first book in the English language to be devoted fully to his music. Jazz fans, as well as musicians and music students who would like a better understanding of Mingus's complex, often difficult music, will discover a complete, chronologically arranged listener's guide to all of his legitimate recordings, from the 78s he recorded in Los Angeles and San Francisco in the mid-1940s, through the legendary albums he made for Columbia, Candid, Atlantic, and his own labels. In the process of providing these in-depth examinations, Jenkins corrects common errors and clears away old misconceptions about certain of his recordings. His approach will illuminate many long-obscured aspects of this imposing and incredibly creative man's contributions to the art of jazz. Touching upon Mingus's many innovations as a jazzman, Know What I Know explores his advancement of the art of bass playing; his assimilations of Ellington and Monk with ideas leaning toward free jazz; his experiments with ensemble dynamics, instrumentation, and extended form; and his working relationships with partners such as Jaki Byard, Eric Dolphy, Jimmy Knepper, and Dannie Richmond. The book provides a broad, informative overview of Mingus's work without veering into technical musical terminology. Readers without an extensive background in music will thus understand and appreciate the analyses provided, and be able to use them to enhance the experience of listening to the brilliant work of this legendary jazz great.
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Jazz Styles: History & Analysis
Mark C. Grimley
Manufacturer: Prentice Hall College Div
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ASIN: 013151458X |
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Sometime near the start of the 1990s, the future became a place of national decline. The United States had entered a period of great anxiety fueled by the shrinking of the white middle class, the increasingly visible misery of poor urban blacks, and the mass immigration of nonwhites. Perhaps more than any other event marking the passage through these dark years, the 1992 Los Angeles riots have sparked imaginative and critical works reacting to this profound pessimism. Focusing on a wide range of these creative works, Min Hyoung Song shows how the L.A. riots have become a cultural-literary event—an important reference and resource for imagining the social problems plaguing the United States and its possible futures.
Song considers works that address the riots and often the traumatic place of the Korean American community within them: the independent documentary Sa-I-Gu (Korean for April 29, the date the riots began), Chang-rae Lee’s novel Native Speaker, the commercial film Strange Days, and the experimental drama of Anna Deavere Smith, among many others. He describes how cultural producers have used the riots to examine the narrative of national decline, manipulating language and visual elements, borrowing and refashioning familiar tropes, and, perhaps most significantly, repeatedly turning to metaphors of bodily suffering to convey a sense of an unraveling social fabric. Song argues that these aesthetic experiments offer ways of revisiting the traumas of the past in order to imagine more survivable futures.
Customer Reviews:
A moving meditation on social lament.......2005-12-03
This book is much more than a cultural studies consideration of the Los Angeles Uprisings/Riots of 1992, but really a deeper reflection on contemporary US society and culture of which 1992 was the rawest example. Not only wide-ranging in the material that Song engages but also deeply informed by literary criticism and social theory, it is not an overestimation to say that this book is a mark of Song's erudition. And perhaps most importantly, this is one of the most lucid pieces of critical prose that I've read in a long time.
Average customer rating:
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Cultural Pessimism
Oliver Bennett
Manufacturer: Edinburgh University Press
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ASIN: 0748609369 |
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Cultural Pessimism charts the growth of pessimism in the West during the last decades of the twentieth century. Drawing on studies from a broad range of fields, including ecology, human rights, military history, international relations, criminology, history of science, cultural criticism, and political economy, the author shows how cultural pessimism in the postmodern world can be related to the cumulative effect of four key narratives of decline: environmental, moral, intellectual, and political. Proposing that cultural pessimism is as much a matter of psychological and biological disposition as of intellectual judgement, Oliver Bennett's challenging book offers valuable new insights into how we view the prospects of the twenty-first century.
Product Description
Escape into the Future analyzes the power of pessimism, showing links between present-day religious pessimism and the nihilism of popular culture. Stroup and Shuck rummage through interesting and eclectic body of pop culture - from Fight Club to X-Files to the Left Behind series -pointing out the presence of pessimistic themes throughout. This volume identifies and illuminates the religious language used in these works to articulate America's need to escape from its present cultural path and, ultimately, provide hope that it might do so.
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James Thomson's The City of Dreadful Night: A Study of the Cultural Resources of its Author and a Reappraisal of the Poem
Henry Paolucci
Manufacturer: Griffon House Publications
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Binding: Hardcover
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ASIN: 0918680875 |
Book Description
At at time when many critics still viewed Thomson's City as the work of a gifted but erratic and sick poet with no cultural preparation to speak of, Henry Paolucci undertook to reassess both the reputation of the author and the quality of his work to prove otherwise. With clarity and candor, Paolucci acknowledges Thomson's dark melancholy but shows it to be far removed from the strident optimism of others who shared similar beliefs, depicting him, ultimately, as an Augustinian struggling to fin purpose in a world lacking faith, hope, and love. Thomson's City is a modern rendering of St. Augustine's City of Man.
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